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Alex

Embracing the blind yearning for the past that nostalgia at times gives us, Charli XCX and Troye Sivan pay homage to the late 90s when “everything was better.” Here Charli takes her trademark overblown yet focused pop style and creates a fairly simple, no frills track that works on every level.

No track better exemplifies Kero Kero Bonito’s recent growth and shift as artists than the song “Dear Future Self.” Trading the candy-like, J-Pop inspired sound of years past for a more rock fueled approach to production, the band not only matures on songs like “Dear Future Self,” but give fans a different yet welcomed taste of what they have to offer artistically.

“Can’t Get Over You” is a deceivingly upbeat, short, and dance worthy song that represents Joji’s shift from a bedroom producer to a more exploratory up and coming pop figure. Produced by Clams Casino, the track uses a simple lo-fi dance beat to mask Joji’s dark, post breakup lyrics about boxcutters and not being able to move on perfectly that’ll have the listener pleasantly surprised by the twisted juxtaposition.

Nathan

After many delays, two of the most underrated names in R&B, Jeremih and Ty Dolla $ign, finally dropped their collab album last Friday. Two of the best crooners in the game usually make their mark on sexually influenced songs, much like their 2016 standout collab “Impatient”. Although they succeed with that throughout the album, their best cut comes from the closing track “Imitate”, in which unlike rest of the album, they come from a much more sensitive point of view. “Anything you want, I’ll swear, I’ll give it to you,” sing the two.

After a seven month stint in jail, Kodak Black came out swinging. After a meme was made of Kodak and Travis Scott vibing to a beat in the studio, fans were anxious to see the product of that session. Thus came “ZEZE”, a collaboration cut that thankfully focuses more on the impressive flows of Offset and catchiness of Travis Scott rather than Kodak’s subpar verse. The real draw to this song, however, is the island waves production of rising producer D.A. Doman, of which without the song wouldn’t have reached the popularity it has.

Post Malone’s singles are usually uncreative and devoid of any particular meaning; ‘Sunflower’ is not a Post Malone single. Instead he links up with the “Rae Sremmurd” duos more successful half, Swae Lee, for a summery collab that Lee carries. Lee takes the first half of the song, paving the way for Post Malone to breeze through the rest. The two excel off of each other for the pleasantly surprising and mature sounding track coming from the “Spider-Man: Into the Spider-Verse” soundtrack.